Muffitt's Classics

Composer-In-Residence Patrick Harlin

LSO Music Director Timothy Muffitt again showed off his great programming prowess last Friday night. 

He began with an overture and symphony by the classic classicist, Mozart.  Then he built a variation on that classical theme:  The maestro chose music by 20^th century Russian composer Prokofiev who wrote a classical symphony for his final assignment in college.

Then he inserted a new work by the LSO’s new composer-in-residence, Patrick Harlin and ended the evening with a suite by 20^th century icon Stravinsky, that was inspired by 18^th century composer, Pergolesi. 

It was a brilliant and inspired program, and the Stravinsky performance was the whipped cream on this sundae of a concert.

The short first half of the program consisted of Mozart’s ho-hum overture to “The Impresario”, followed by the wonderful Symphony No. 38 – “The Prague”. Through the years, this has become one of my favorite Mozart symphonies.  And, despite some ragged sections, the reading of this piece did not disappoint. 

The woodwinds took center stage, constantly modulating and exploring the keys.  Interesting that Mozart did not include clarinets in the woodwind choir.  Kathryne Salo was a substitute principal flute and she blended beautifully with the woodwind section.

Muffitt placed the first and second violin sections on either side of him, which made the most of the call and response writing of the string parts.

After intermission was one of the favorite 20^th centuries pieces, Prokofiev’s “Classical Symphony”.  Usually this delightful work is filled with energy and sparkle, but this performance was disappointing.  Muffitt choose very slow tempos, and it took the spunk out of the music. It began to perk up in the last two movements, but in general, this crowd-pleasing piece was not a pleaser on Friday’s concert.

We then had the chance meet the LSO’s new composer-in-residence, Patrick Harlin and listen to his music. Muffitt introduced him and Harlin then introduced his piece, “Shadow Dancer” which was revised for this concert. 

The music was based on Harlin’s experience accompanying a dance class on a regular basis. The seven-minute work exploded with a vibrant orchestration, great rhythms and even a melody or two. We were able to visualize the dancers in the class as the sonic textures moved around the orchestra.  I am looking forward to hearing more of his music in the next three years.

The concert concluded with a ravishing performance of Stravinsky’s seldom heard “Suite from Pulcinella”.  Written like chamber music in a neo classical style, the work featured nine short movements. 

A very challenging piece, the LSO seemed to enjoy exploring the dazzling music. Each movement burst forth with new sounds and ideas, with extended solos by many wind instruments.  Garrett Lindholm was virtuosic with his demanding trumpet solo and trombonist Ava Ordman allowed her brashness to take over in her wonderful and humorous solo.

Clearly the Stravinsky was the selection the orchestra spent the most time rehearsing.  Muffitt drove his musicians to play with vigor and personality to make this Pulcinella one of the highlights of any piece I’ve heard the orchestra play.